Dissertations / Theses: 'Herman'

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Treichel, Tamara. ""And so hell's probable" : Herman Melville's "Moby-Dick" and "Pierre" as descent narratives /." Trier : WVT Wissenschaftlicher Verlag, 2009. http://www.wvttrier.de.

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Mansell, John David. "Jerry Herman's leading ladies." Orlando, Fla. : University of Central Florida, 2010. http://purl.fcla.edu/fcla/etd/CFE0003017.

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Sluis, Jacob van. "Herman Alexander Röell /." Ljouwert : Fryske Akademy, 1988. http://catalogue.bnf.fr/ark:/12148/cb37148118m.

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Treichel, Tamara. ""And so hell's probable" Herman Melville's Moby-Dick and Pierre as descent narratives." Trier Wiss. Verl. Trier, 2008. http://www.wvttrier.de.

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Nishiura, Toru. "The description of the characters in Herman Melville's White-jacket, or the world in a man-of-war." Huntington, WV : [Marshall University Libraries], 2005. http://www.marshall.edu/etd/descript.asp?ref=589.

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McWilliams, David. "Herman Hoeksema's theological method." Thesis, University of Wales Trinity Saint David, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683171.

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Lindén, Axel. "Förnimmelser : en fenomenologisk analys av Herman Bangs författarskap /." Lund : Ellerström, 2009. http://catalogue.bnf.fr/ark:/12148/cb414886445.

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Müller, Wolfgang. "Recht und Literatur als friedlose Konstellation eine Arbeit zu Herman Melvilles Bartleby und Billy Budd und zu William Dean Howells' An imperative duty /." [S.l. : s.n.], 2002. http://www.diss.fu-berlin.de/2002/219/index.html.

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Hielema, Syd. "Herman Bavinck's eschatological understanding of redemption." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0011/NQ35452.pdf.

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von, Promnitz Franns-Wilfrid. "Die Kinder des Herman von Promnitz." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2015. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-171062.

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Carlsson, Stephanie Lillian. "Herman charles Bosman : the biographer's enigma." Diss., University of Pretoria, 2014. http://hdl.handle.net/2263/79713.

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This dissertation examines the five biographies or memoirs written about the renowned South African writer Herman Charles Bosman. The main aim of the study is to show how different, and often contradictory, the views of him are as presented in the biographies. I also investigate different theories of biography as expounded by Leon Edel, Ira Bruce Nadel and Ray Monk and explore to what extent each of the biographies conforms, or does not conform to the theory. It is the contention of this dissertation that though the existing theories are useful and do shed light on each biographer’s approach and practice, they are also limited in accounting fully for the diverse and often discrepant accounts of Bosman’s life. The dissertation opens with an explication of several different theories regarding biography, and gives a brief overview of the life story of Herman Charles Bosman. Some of the main elements of biography (including different forms of narration, language and myth) are discussed and how they might be used in biography. The subsequent chapters focus on and offers detailed analyses of the biographies of Bosman, beginning with Herman Bosman As I Knew Him by Bernard Sachs and My Friend Herman Charles Bosman by Aegidius Jean Blignaut. Thereafter Sunflower to the Sun by Valerie Rosenberg and Life Sentence by Stephen Gray are analysed. Finally, there is an analysis of several reminiscences of those who knew Bosman, including Lionel Abrahams’s important memoir. The strengths and limitations of the various biographies are analysed, thereby shedding light not only on the practice of biography itself, but also on the complex and enigmatic figure of Herman Charles Bosman.
Dissertation (MSc)--University of Pretoria, 2014.
English
MA (English Studies)
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Corner, Jason L. ""Monstrous Compounds": Genre and Value in Herman Melville." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1155666766.

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Dirksen, Eric John. "Spiritual assurance the knowledge of salvation in Herman Bavinck /." Online full text .pdf document, available to Fuller patrons only, 2003. http://www.tren.com.

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Wolford, Donald L. "Calvin Cohn : confidence man interpreting Bernard Malamud's God's grace as a parody of Herman Melville's The confidence-man /." Connect to resource online, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1253394734.

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Schlarb, Damien Brian Melville Herman. "Melville's quest for certainty questing and spiritual stability in Herman Melville's Moby dick /." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-12012006-094528/.

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Thesis (M.A.)--Georgia State University, 2006.
Title from title screen. Reiner Smolinski, committee chair; Robert Sattelmeyer, Paul Schmidt, committee members. Electronic text (121 p.) : digital, PDF file. Description based on contents viewed Apr. 19. 2007. Includes bibliographical references (p. 114-121).

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Dively, Ronda S. "Empathy for Captain Ahab /." View online, 1989. http://repository.eiu.edu/theses/docs/32211131012518.pdf.

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Dunphy, Mark Raymond. "Double consciousness in Melville's middle novels /." Access abstract and link to full text, 1985. http://0-wwwlib.umi.com.library.utulsa.edu/dissertations/fullcit/8522800.

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Peck, Elka Marie. "Melville's tattoos and disguises : society, identity, audience, and appearance /." View thesis, 2002. http://wilson.ccsu.edu/theses/etd-2002-17/ThesisTitlePage.html.

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Thesis (M.A.)--Central Connecticut State University, 2002.
Thesis advisor: Robert Dunne. " ... in partial fulfillment of the requirements for the degree of Master of Arts in English Literature." Includes bibliographical references (leaves 62-64). Also available via the World Wide Web.

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Gunnarson, Ketty. "En dunkel frihet : utopisten Nils Herman Quiding /." Göteborg : Acta Universitatis Gothoburgensis, 1995. http://catalogue.bnf.fr/ark:/12148/cb370195948.

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von, Platen Wille. "Herman Bergmans Konstgjuteri : Ett ordnings- och förteckningsarbete." Thesis, Uppsala universitet, Institutionen för ABM, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-154796.

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This examination paper is the account for the author’s work while arranging and registrating the business archives and business records of the Herman Bergman’s Foundry in Stockholm, Sweden. It is part of the one year Masters program in Archival Science at the University of Uppsala. The records are from the beginning of the 1900s to the 1970s. Most of the business archives are from he 1940s to the 1950s. They contain correspondence with swedish sculptors and press cuttings. The archives include glass plates and photographs that depict the works created at the foundry. Decisions and motivations made during the process are treated in the paper. The author discusses availability and the weeding of business archives.

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Hänssgen, Eva. "Herman Melvilles 'Moby-Dick' und das antike Epos /." Tübingen : G. Narr, 2003. http://catalogue.bnf.fr/ark:/12148/cb390763590.

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Recker, Astrid. ""But truth is ever incoherent ..." : dis/continuity in Herman Melville's "Moby-Dick" /." Heidelberg : Universitäsverlag C. Winter, 2008. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9783825355180.

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Hellén, Anna. "How to construct a temple : Melville and the architecture of romanticism /." Göteborg : Acta Univ. Gothoburgensis, 2009. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=017724646&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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Miller, Damian. "Herman Nohls "Theorie" des pädagogischen Bezugs : eine Werkanalyse /." Bern : Peter Lang, 2002. http://catalogue.bnf.fr/ark:/12148/cb38819025k.

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Christodoulou, Constantine. "A critical dictionary of Herman Melville's Polynesian terms." Texas A&M University, 2006. http://hdl.handle.net/1969.1/4823.

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The dissertation is divided into five chapters and focuses primarily on MelvilleÃ¢ÂÂs Typee, Omoo, Mardi, and Moby Dick. Chapter I introduces the idea that Melville understood Polynesian better than what critics have demonstrated, and that he used the Polynesian language to develop his own multicultural aesthetic. Chapter II discusses how Melville attempts to resolve his aesthetic preoccupations by opening his narratives to the literary potential of the Polynesian language. The chapter examines representative examples of the orthographic idiosyncrasies of MelvilleÃ¢ÂÂs Polynesian adoptions and adaptations which describe his new literary aesthetic. The chapter also investigates how MelvilleÃ¢ÂÂs Polynesian aesthetic affects the construction of meaning in his texts. The chapter finally discusses examples of past editorial choices which have sidestepped MelvilleÃ¢ÂÂs Polynesian aesthetic and, thus, provided readers with a limited understanding of the Polynesian languageÃ¢ÂÂs role in MelvilleÃ¢ÂÂs texts. Chapter III analyzes samples of MelvilleÃ¢ÂÂs Polynesian adoptions and adaptations from the above narratives to emphasize the role of the Polynesian language in his Pacific experience. This chapterÃ¢ÂÂs intention is to underline the interaction between MelvilleÃ¢ÂÂs Polynesian language and culture and his texts, which engendered a complex multicultural aesthetic that permeated his first three works, continued to influence his later writings, and contributed significantly to his cosmopolitan vision of American cultural identity. Chapter IV contains the dictionary, which incorporates approximately two hundred entries. Each entry is divided into four sections. The first is a series of quotes from MelvilleÃ¢ÂÂs texts that illustrate the various meanings that Melville has given to the term being examined. The second is a list of definitions from various dialects, intended to underline the various Polynesian linguistic elements that Melville adopted or adapted to construct each particular term. The third is an interpretative paragraph that explains how each term is divided into its constituent parts based on MelvilleÃ¢ÂÂs aesthetic. The fourth section contains specific quotes from other sources of the particular term that underline the significance of that source to MelvilleÃ¢ÂÂs knowledge of the particular term. Chapter V concludes with the idea that this dissertation is meant as a starting guide to reexamining MelvilleÃ¢ÂÂs Polynesian aesthetic.

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Juhani, Saari. "Power and Resistance in Herman Melville’s Three B’s." Thesis, Stockholms universitet, Engelska institutionen, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-98345.

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Saari, Juhani. "Power and Resistance in Herman Melville’s Three B’s." Thesis, Stockholms universitet, Engelska institutionen, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-91131.

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This essay examines three of Herman Melville’s shorter fictions: Bartleby, Benito Cereno and Billy Budd. An analysis and comparison is made of the forces of power relations and resistance between the main characters in the three stories. Foucault’s theories of power are used as a basis for the analysis. Apparent power structures such as law and military hierarchy are analysed, but the focus is on more subtle relations based on language, knowledge, conformity with norms, silence, capitalism and position. It is argued that, apart from the apparent power structures, one needs to consider the more subtle power relations and acts of resistance for an understanding in the shifts of power positions. The study examines how the resisting oppressed party in each of the three works of fiction ends up dead, and that on a first reading resistance may seem futile. A further examination of the seemingly re-established conventional order, however, reveals shifts in power positions, shifts that indicate instability in the norms of society. It is argued that positions of power are to some extent reversed in the studied works of fiction, where the dominant party ends up suffering.

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Knoeff, Henrika Grada. "Herman Boerhaave (1668-1738) : Calvinist chemist and physician." Thesis, University of Cambridge, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.621889.

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Evans, David B. "Scepticism at sea : Herman Melville and philosophical doubt." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:a842c507-0efc-4b73-9aaa-ccc36f54a7a5.

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This thesis explores Herman Melville’s relationship to sceptical philosophy. By reading Melville’s fictions of the 1840s and 1850s alongside the writings of Descartes, Berkeley, Hume, and Kant, I seek to show that they manifest by turns expression, rebuttal, and mitigated acceptance of philosophical doubt. Melville was an attentive reader of philosophical texts, and he refers specifically to concepts such as Berkeleyan immaterialism and the Kantian “noumenon”. But Melville does not simply dramatise pre-existing theories; rather, in works such as Mardi, Moby-Dick, and Pierre he enacts sceptical and anti-sceptical ideas through his literary strategies, demonstrating their relevance in particular regions of human experience. In so doing he makes a substantive contribution to a philosophical discourse that has often been criticised – by commentators including Samuel Johnson and Jonathan Swift – for its tendency to abstraction. Melville’s interest in scepticism might be read as part of a wider cultural response to a period of unprecedented social and political change in antebellum America, and with this in mind I compare and contrast his work with that of Dickinson, Douglass, Emerson, and Thoreau. But in many respects Melville’s distinctive and original treatment of scepticism sets him apart from his contemporaries, and in order to fully make sense of it one must range more widely through the canons of philosophy and literature. His exploration of the ethical consequences of doubt in The Piazza Tales, for example, can be seen to anticipate with remarkable precision the theories of twentieth-century thinkers such as Emmanuel Levinas and Stanley Cavell. I work chronologically though selected prose from the period 1849-1857, paying close attention to the textual effects and philosophical allusions in each work. In so doing I hope to offer fresh ways of looking at Melville’s handling of literary form and the wider shape of his career. I conclude with reflections on how Melville’s normative emphasis on the acknowledgement of epistemological limitation might inform the practice of literary criticism.

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Sutanto, Nathaniel Gray. "Organic knowing : the theological epistemology of Herman Bavinck." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31241.

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Recent scholarship has increasingly recognized the unity of Herman Bavinck's (1854-1921) thought, shedding the once-predominant reading that Bavinck was a conflicted thinker caught between modernity and orthodoxy. There were 'two Bavincks', the secondary literature claimed. The catalyst of unity for Bavinck's thinking is located in his deployment of organic language to characterize particular theological loci. The organic motif stems from Bavinck's Trinitarian doctrine of God, according to which God exists as the archetypal and self-existent Three-in-One. Creation, then, is an ectypal reflection of the triune Godhead, and as such can be described as an organism comprising of many unities-in-diversities. This new reading, propelled by James Eglinton, argued that for Bavinck the Trinity ad intra leads to an organic cosmology ad extra. Though this reading has showcased the unity of Bavinck's thought in general, current scholarship on Bavinck's theological epistemology remains fractured along the lines of the 'two Bavinck' thesis, with two sides that emphasize, respectively, the modern strand of Bavinck's thinking or his classical, orthodox, side. This thesis reinvestigates the primary texts in which Bavinck discusses epistemology and argues that the organic motif is also the lens through which his epistemology is to be read. In doing so, this thesis argues that the organic motif allowed Bavinck to utilize both classical (Thomistic) and post-Kantian sources in a way that produces coherence rather than inconsistency. Thus, it is unnecessary to pit Bavinck's use of classical sources against his use of modern sources: particular deployment is not systematic endorsement. The thesis, then, is that a Trinitarian doctrine of God ad intra produces not merely an organic cosmology ad extra, but also an organic epistemology. It then proceeds to demonstrate this in two ways. First, the thesis observes that Bavinck characterizes the sciences (wetenschappen) as a single organism made up of a unity-in-diversity. The specialization and divisions of the sciences mean that each field has its own sphere of existence with unique grounds and methodologies, but there is an underlying theological unity between them that relativizes that diversity precisely because all of the sciences are theological. Second, for Bavinck subjective knowledge can organically correspond with objects because both participate in a larger, organic universe. Mental representations connect with the world because all of creation is primordially interconnected by way of God's organic design. In each of these steps Bavinck's eclectic use of sources and overall creativity and unity are displayed. This thesis also relates his discussion both to his interlocutors and contemporary philosophical and analytic epistemology. Hence, this thesis not only demonstrates the overall coherence of Bavinck's thought, thereby further eradicating ill-conceived notions of there being 'two-Bavincks', but also showcases potentially generative insights concerning the place of theology within the university and the resources theology might provide for philosophical epistemology.

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Brock, Cory Clark. "Orthodox yet modern : Herman Bavinck's appropriation of Schleiermacher." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31240.

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Herman Bavinck (1854-1921), perhaps the most remarkable dogmatician and intellectual of the Dutch Reformed (gereformeerde) tradition in the late nineteenth and early twentieth centuries, committed himself to what he called a 'Reformed' and 'catholic' theological task. For the modern dogmatician, this task is neither repristination nor abandonment of one's confessionalist tradition, but, being driven along by the Scriptural witness, to appropriate 'catholic' dogma to the grammars of modern conceptual frameworks. Such a task led Bavinck to a certain eclecticism in style and source for which he earned in twentieth century scholarship the pejorative label of dualism, applied both to his person and his theological content. Regarding his person, this thesis of the two Bavincks follows a biographical narrative of a student and blossoming theologian divided between the orthodox and modern. Regarding his content, interpreters move to and fro between Bavinck the scholastic and Bavinck the post-Kantian, subjectivist dogmatician. This study nuances this picture and participates in James Eglinton's recent call for an overturning of said dualisms applied to Bavinck's person and work by outlining the most significant example of Bavinck toiling to complete his 'catholic' dogmatic task: his appropriation of Friedrich Schleiermacher. In distinction from Bavinck's milieu, he did not demonize Schleiermacher, but, while willing to critique Schleiermacher's material dogmatics, regarded Schleiermacher as 'deeply misunderstood'. The two primary locales of Bavinck's appropriation of Schleiermacher include (i) the question of the epistemic ground of the unity of being and thinking; (ii) the grammar of subjective and objective religion. In both, Bavinck adopts Schleiermacher's concepts of 'feeling', 'absolute dependence', and 'immediate self-consciousness' to complete his own logic. Understanding Bavinck's adoption of Schleiermacher's conceptual framework, particularly that of the introduction from Schleiermacher's Der christliche Glaube, makes visible just how Bavinck determined to work as a modern theologian post-Kant and within the freeing confines of his orthodox, Dutch confessionalist heritage. His appropriation of Schleiermacher is the paradigmatic example of his commitment to be orthodox - yet modern.

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Palermo, Daina Erin. "Herman Patrick Tappe: American fashion designer and importer." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1407485555.

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Sosna, Werner. "Die Selbstmitteilung Gottes in Jesus Christus : Grundlagen und dogmatische Explikation der Christologie Herman Schells /." Paderborn : F. Schöningh, 1991. http://catalogue.bnf.fr/ark:/12148/cb35712772r.

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Texte remanié de: Diss.--Theologische Fakultät--Paderborn, 1990. Titre de soutenance : Die Selbstmitteilung Gottes in Jesus Christus : religionsphilosophischer Zugang, trinitätstheologische Grundlagen und dogmatische Explikation der Christologie Herman Schells.
Bibliogr. p. 305-319.

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Dove-Rumé, Janine. "Quête, communication et connaissance étude des "gams" dans "Moby-Dick" or "The Whale" de Herman Melville." Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb37597439w.

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Visser, Paul Jan. "Bemoeienis en getuigenis : het leven en de missionaire theologie van Johan H. Bavinck /." Zoetermeer : Boekencentrum, 1997. http://catalogue.bnf.fr/ark:/12148/cb40164003w.

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Melton, Lisa Kalhar. "Herman Preusse, Spokane's first architect : his commercial and public buildings /." view abstract or download file of text, 2001. http://wwwlib.umi.com/cr/uoregon/fullcit?p1405196.

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Thesis (M.S.)--University of Oregon, 2001.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 121-129). Also available for download via the World Wide Web; free to UO users.

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Demeze-Jouatsa, Ghislain-Herman [Verfasser]. "Essays on finitely repeated games / Ghislain-Herman Demeze-Jouatsa." Bielefeld : Universitätsbibliothek Bielefeld, 2019. http://d-nb.info/1175562807/34.

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Hughes, T. "Sea-room : the early Pacific writing of Herman Melville." Thesis, University of Cambridge, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.604755.

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My dissertation examines the early writings of Herman Melville in the context of American representation of the Pacific produced during the first half of the nineteenth century. Starting from the premise that critical accounts of Melville's literary development have tended to overlook the Pacific contexts of his first three books - Typee, Omoo and Mardi - I attempt to situate them in terms of various traditions of western voyage, travel and historical writing on the region. The writing of nineteenth century American travellers on the Pacific has customarily been viewed within the purview of American continental expression and western history while Melville's Pacific writing has been interpreted predominantly within the critical parameters of American studies and literary history. Both these tendencies have neglected the often complex position of American travellers in the Pacific during this era. Looking at the voyage accounts of Benjamin Morrell, Amaso Delano and Charles Wilkes I trace their negotiations with the traditions of scientific voyaging established by earlier European explorers, highlighting their attempts to fashion authorial identities and generic conventions against the backdrop of those traditions. I then read Typee as the product of similar negotiations and offer the figure of the beachcomber as means of interpreting Melville's text and the model of authorship that underpins it. Towards the mid-nineteenth century, as exploration in the Pacific began to give way to more sustained processes of western colonisation, new representational forms emerged to describe those processes. Melville's Omoo is a response to just these developments and my analysis of it is based on an examination of the historical accounts of Hawai'i written by the American missionary Hiram Bingham and James Jackson Jarves. How Melville views the advent of colonisation and acculturation in Tahiti is thus filtered through the frameworks of American romantic historiography and providential history.

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Phillips, Jerry. "Herman Melville, and the politics and poetics of adventure." Thesis, University of Essex, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.279296.

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Gambarotto, Bruno. "Modernidade e mistificação em Moby-Dick, de Herman Melville." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-14032013-104328/.

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Neste estudo de análise e interpretação de Moby-Dick (1851), de Herman Melville (1819-1891), pretendemos formular e esclarecer questões relativas ao momento de definição do romance norte-americano, bem como à obra que se traduz como o esforço mais radical de um norte-americano na tentativa de, então, levar a forma romance ao estudo e reflexão sobre sua sociedade. Para tanto, recuperamos da leitura da obra os aspectos que mais fortemente tematizam tal intento: a crise ideológica de fins da década de 1840, quando os ideais revolucionários de igualdade da antiga república são finalmente confrontados com as consequências de sua integração no sistema capitalista mundializado questão central de Redburn (1849) e White-Jacket (1850), romances que preparam Moby-Dick e marcam as primeiras experiências de Melville como escritor social; o conceito de fronteira, problema de definição identitária norte-americana que abarca desde a ocupação da wilderness puritana no século XVII ao estabelecimento, à época de Melville, de uma política de Estado imperialista e, ademais, passa pela cristalização de perspectivas culturalmente particulares de propriedade e formação social de classe; e, finalmente, as noções de técnica e trabalho, diretamente implicadas na atividade baleeira e, de modo mais amplo, no avanço civilizatório norte-americano, e para quais pesam a consciência do valor social do trabalho livre e sua coexistência com a escravidão. É sob tais preocupações que contemplaremos, à luz da teoria crítica e da tradição crítica brasileira, as especificidades formais do romance, a saber, a apropriação estrutural do trágico em contraposição à épica, que define o percurso de Ahab, o capitão do Pequod, em sua caçada a Moby Dick, e a formação de um narrador reflexionante, o sobrevivente Ishmael, que retoma o passado da catástrofe para ferir o presente em que se perpetuam, no roldão do ingresso norte-americano na modernidade, as condições para sua reprodução.
Through an analytical and interpretative study of Herman Melvilles Moby-Dick I intend to formulate and clarify the historical turning point of the American novel, specifically what is deemed the most radical effort of an American writer to bring a comprehensive study on society into novelistic form. In order to accomplish that, I reconsider some of the features of Moby-Dick that strongly appealed to the times. First the ideological crisis of the 1840s, when the equalitarian revolutionary ideals of the Independence were finally confronted by the consequences of the U.S. being fully compromised to the Industrial Revolution and the capitalistic worldwide system. This is a central issue in Redburn (1849) and White-Jacket (1850), both novels where some major features of Moby-Dick are anticipated and firstly tested. Second, I scrutinize the concept of frontier -- a national identity issue that can be traced back to the Puritan 17th century errand into the wilderness that is strongly attached in the age of Melville to the ideological making of American imperialism. Besides, it also has had a major role in the crystallization of culturally specific perspectives on property and the establishment of social classes. Finally, I reconsider the notions of technique and labor, directly implied in the whaling industry and in a more general way in the marching of American civilization towards the West, which has had a strong impact on the understanding of the social significance of free labor and its coexistence with slavery. With those things under consideration, and through the surmises of the Critical Theory and the Brazilian tradition of social and literary criticism as well, it is my aim to shed light on some esthetical features of the novel, particularly on the tragic structure (as opposed to the epic) that defines the career of Pequods Captain Ahab and his obsessive chasing of Moby Dick, and the constitution of a self-reflexive narrator, the survivor Ishmael, who recalls the past of the catastrophe in order to attack the social reproduction of its conditions in the present.

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Chihota, Munyaradzi Justice. "Applying the Herman-Beta probabilistic method to MV feeders." Master's thesis, University of Cape Town, 2015. http://hdl.handle.net/11427/24292.

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Includes bibliographical references.
The assessment of voltage drop in radial feeders is an important element in the process of network design and planning. This task is however not straight forward as the operation of modern power systems is highly influenced by a variety of uncertain and random variables such as stochasticity in load demand and power generation from renewable energy resources. Classic deterministic methods which model load demand and generation with fixed mean values consequently turn out to be inadequate and inaccurate tools for the analysis of power flow in the uncertainty-filled system. Statistically based methods become more suitable for such a task as they account for input variable uncertainties in their calculation of load flow. In the South African context, the Herman Beta algorithm, a probabilistic load flow tool developed by Herman et al. was adopted as the method for voltage assessment in Low Voltage (LV) network. The method was shown to have significant advantages compared with many other probabilistic methods for LV feeders, as investigated by Sellick and Gaunt. Its performance with regards to speed and accuracy is superior to deterministic, numeric probabilistic and other analytical probabilistic methods. The evolving connections of smaller generators, referred to as Distributed Generators (DGs), to the utility grid inspired the extension of the HB algorithm to active LV distribution networks. The HB algorithm was however formulated specifically for LV feeders. The assumptions of purely resistive feeders and unity power factor loads make it unsuitable for the Medium Voltage (MV) distribution network. In South Africa, deterministic methods are still being used for network design in MV distribution networks. This means that the drawbacks of such methods, for example inaccuracy and computational burden with large systems, are characteristic of the quality of network design in MV feeders. The performance of the HB algorithm together with the advantages and superiority of load modelling using the Beta probability density function (Beta pdf) suggested that modifying the input parameters could allow the HB algorithm to be used for voltage calculations on MV networks. This work therefore involves the adaptation of the way the HB algorithm is used, to make it suitable for voltage calculations on MV feeders. The HB algorithm for LV feeders is firstly analysed, coded into MATLAB, tested and then validated. Following this, the input parameters for feeder impedance and load current are modified to include the effects of reactance and non-unity power factor loads, using approximate modelling techniques. For reactance, the modulus or absolute value of the complex impedance is used in place of the resistance, to compensate for the line reactance. The load current is adjusted by inflating it by the power factor. The results of calculations with the HB algorithm are tested against a Monte-Carlo Simulation (MCS) solution of the feeder with an accurate model (full representation of feeder impedance and load power factor). The approach is extended to include shunt capacitor connections and DG in voltage calculations using the HB algorithm and testing the results with MCS. The outcomes of this research are that the approach of adjusting the input parameters of line resistance and load current significantly improves the accuracy of calculations using the HB algorithm for MV feeders. Comparison with the results of MC simulations indicates that the error of voltage calculations on MV feeders will be less than 2% of the 'accurate probabilistic value'. However, it is not possible to predict the error for a particular application.

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42

Harrison, Colin. "Heretical necessity : Herman Melville and the fictions of charity." Thesis, University of Nottingham, 1997. http://eprints.nottingham.ac.uk/11314/.

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Heretical Necessity explores the various ways in which an idea of value was established and debated through the literature of mid 19th century America. Above all, it concerns moral value, the language of personal virtue and social ethics; this includes notions of sympathy and self-sacrifice promoted in sentimental fiction, which I read alongside Melville's responses in his later work: the perversion of altruism in Pierre, his critique of benevolence in the short stories, and his ironization of trust in The Confidence Man. Charity is a key issue because it refers both to a notion of fellowship integral to the sentimental vision of society and to a principle of unreciprocated (hence antagonistic) action: giving one's all becomes incompatible with the more measured principles of justice on which a democracy has to be based. I argue that moral value is related to the production of value in the economic sphere, since charity is at once a religious and a financial practice, thus linking the Christian notions of fellowship and giving to ideas of utility and luxury in capitalist society. In this respect my work is informed by the idea of symbolic exchange, via the theories of figures like Mauss, Bataille, Baudrillard and Derrida; prompted by these thinkers, I attempt to identify different types of contract in the literature (commercial, social, masochistic, and literary) and incorporate them in the same general analysis, as a way of exploring the structural complexities of the moral narrative and the discourse of American community.

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43

Noel, James. "Floating stages : racial performance in Herman Melville's 1850s texts." Thesis, Goldsmiths College (University of London), 2017. http://research.gold.ac.uk/20484/.

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Before the 1960s, there was very little literary criticism on the presence of race and culture in Herman Melville’s texts. However, racial events, such as the Civil Rights Movement, have been influential in causing intellectuals, such as Samuel Otter, Eric J. Sundquist, and Carolyn Karcher, to revisit Melville’s texts through the lens of race. This thesis is aligned with such critics, and it takes their ideas a step further - by contending that the racial performance found in Melville’s work develops increasingly during the 1850s, becoming more complex by Melville’s last published work prior to the Civil War. Moreover, I argue that these textual representations of racial performance are often ambiguous echoing the national and ethical dilemmas of the decade prior to the Civil War. Chapter One establishes the beginning of my argument by contending that whiteness is implicitly performed in the staged theatrical production that Melville includes in White-Jacket. Chapter Two moves my argument forward as I examine the ways that race is performed in Moby-Dick. I suggest that the book is a development from Melville’s White-Jacket because the racial performance that takes place is more explicitly about race and is also extempore. Whereas Chapter One and Two focus on staged and extempore performances of race, Chapter Three moves my analysis of racial performance to social enactments of race. Specifically, I analyse the ways that the Senegalese slaves and Spanish crew perform race on board the San Dominick. I contend that Benito Cereno develops the racial performance found in Melville’s 1850s texts by offering a critique of slavery while the earlier writing did not. The last Chapter of the thesis concentrates on the racial performance in Melville’s last publication of the 1850s, The Confidence-Man. I propose that this text marks the height of racial performance found in Melville’s work as a result of the Black guinea’s ambiguity. Collectively, the chapters in this dissertation will provide a new reading of Melville through the lens of racial performance, by demonstrating how that racial performance develops in Melville’s work throughout the 1850s.

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44

Rückl, Flávia Roberta Felippi. "Domination and resistance in Herman Mel Ville´s characters." Florianópolis, SC, 2000. http://repositorio.ufsc.br/xmlui/handle/123456789/78654.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão
Made available in DSpace on 2012-10-17T17:27:09Z (GMT). No. of bitstreams: 0Bitstream added on 2014-09-25T19:28:58Z : No. of bitstreams: 1 177524.pdf: 1552362 bytes, checksum: cbe5d5ae2a5369fb7b62ed5656ac9457 (MD5)
A produção literária de Herman Melville é caracterizada por disputas de poder nas quais forças de dominação enfrentam resistência. Este é o caso dos contos "Billy Budd, Marinheiro", "Benito Cereno" e "Bartlety, O Escrivão". "Billy Budd, Marinheiro" enfoca resistência ao poder militar. Em "Benito Cereno", as relações de poder acontecem entre escravos e senhores. "Bartleby, O Escrivão" pode ser entendido com um caso de resistência civil ao poder econômico. As interações presentes nestes contos sugerem que o poder é um instrumento positivo na vida social uma vez que toda força de dominação gera resistência. Resistência, por sua vez, não permite que o poder absoluto se instale, questionando, e por vezes, mudando situações sociais

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45

Ott, Sara. "Paradox and philosophical anticipation in Melville’s Moby-Dick." Thesis, Wichita State University, 2006. http://hdl.handle.net/10057/385.

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Much of the current critical literature on Moby-Dick lacks a unifying focus. This essay attempts to provide a thread of continuity for Moby-Dick by proving that paradox and Herman Melville’s anticipation of the early existential movement hold the key to a full reading of this text. By viewing the text itself, Melville’s personal correspondence, and the writings of Emerson, Hegel, Kierkegaard, and Nietzsche, the paradoxical tension by which this text must be read comes into clearer focus.
Thesis (M.A.)--Wichita State University, College of Liberal Arts and Sciences.
"May 2006."
Includes bibliographic references (leaves 32-35)

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46

Midan, Marc. "Milton & Melville : le démon de l'allusion." Paris 7, 2014. http://www.theses.fr/2014PA070086.

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Milton & Melville : Le Démon de l'allusion étudie la signification de l'allusion à Milton dans Taïpi, Moby¬Dick, L'Escroc à la confiance et Billy-Budd, Marin. Un état détaillé de la recherche sur les rapports entre les deux auteurs montre la prédominance d'une conception de l'allusion comme moyen d'identifier le sens d'un texte incertain à celui d'un autre, supposé stable ; or, il s'agit, en réalité, d'une relation dynamique et réciproque. Ludique, satirique, impie, ou érotique, l'allusion melvillienne est multiforme et variable ¬ondoiement qui la dérobe à une approche trop générale, mais en lequel réside justement un sens plus global, au-delà de simples effets locaux. Loin d'être un ornement ou un supplément, elle fait partie de la trame même du texte ; oblique, déroutante, elle n'en sert pas moins la grande ambition melvillienne d'« énoncer la Vérité ». C'est, en effet, allusivement — dans une relation, en particulier, au Paradis perdu — que Melville décrit à la fois les travers de la société contemporaine, l'aliénation du moi et la terreur des « sphères invisibles ». Le poème melvillien peut se concevoir comme un lieu où la vérité est, dans le même mouvement, dégagée et exhibée, par une chimie à la fois expérimentale et picturale. Le processus mobilise ¬selon un modèle fédéral où s'affirme une originalité américaine — une allusion complexe, dont le sens ne réside pas seulement dans les éléments importés par les textes simultanément convoqués, mais aussi dans leur interaction conflictuelle. Cet agôn allusif récurrent — qui définit notamment l'écrire-blanc de Moby-Dick — participe d'une violence relationnelle dont le Satan de Milton est le plus puissant symbole
Milton & Melville: The Demon of Allusion studies the significance of allusions to Milton in Typee, Moby¬Dick, The Confidence-Man and Billy-Budd, Sailor. Examining the state of research shows that allusion tends to be seen as a way to identify the meaning of an ambiguous Melvillean text with a supposedly stable Miltonic one – when in fact the allusive relationship is dynamic and reciprocal. All at once playful, satirical, impious, and erotic, Melvillean allusion is protean and thus eludes generalization. However, its very elusiveness hints at a more global significance, going beyond merely local import. Far from being just a flourish or a supplement, it is the very stuff that the text is made of. However oblique and disconcerting, it plays a crucial part in Melville's ambition to master the "great Art of Telling the Truth". Indeed, it is through allusion—in particular to Paradise Lost—that he satirizes contemporary society, explores the alienation of the self and expresses the terror of the "invisible spheres". Melville's text can be conceived of as the locus where truth is both achieved and exhibited to the reader, through a chemistry that is experimental as well as pictorial in nature. Based on a uniquely American federal model, such a process involves a complex allusive mix, the meaning of which lies not only in what the different texts bring to their host, "'but also in the destructive interaction between them. This recurrent allusive agon – the "colorless all-color" of writing – speaks to the violence of Melvillean relationships, the most powerful symbol of which is Milton's Satan

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47

Terzis, Timothy R. (Timothy Randolph). "Melville's Vision of Society : A Study of the Paradoxical Interrelations in Melville's Major Novels." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278456/.

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I hold that Melvillean society consists of paradoxical relationships between civilization and barbarianism, evil and good, the corrupt and the natural, the individual and the collective, and the primitive and the advanced. Because these terms are arbitrary and, in the context of the novels, somewhat interchangeable, I explore Melville's thoughts as those emerge in the following groups of novels: Typee, Omoo, and White-Jacket demonstrate the paradox of Melvillean society; Redburn, Moby-Dick, and Mardi illustrate the corrupting effects of capitalism and individualism; and The Confidence-Man, Israel Potter, and Pierre depict a collapsed paradox and the disintegration of Melville's society.

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48

Ingmire, George. "Life is a One-Way Ticket: Herman Leonard's Eightieth Birthday Celebration." ScholarWorks@UNO, 2004. http://scholarworks.uno.edu/td/74.

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Life is a One-Way Ticket is a twenty-three minute documentary about jazz photographer Herman Leonard's 80th birthday party. The event took place at Rosy's Jazz Hall, a club in the uptown section of New Orleans where musicians including Ella Fitzgerald, Dizzy Gillespie and Stevie Wonder once performed. Within the documentary, I show the celebration as an analogy for the life of Herman Leonard. In short but moving passages, Herman Leonard reflects upon the nature of his longevity, the world today, and the "luck" he has had with photography. In addition to the voice of Herman Leonard, interviews with Herman Leonard's friends and family show him as both a world-class photographer and the down-toearth human being. Upon completion of the documentary, the final cut will be authored onto a DVD. This will allow for extra features, including an extended interview with Herman Leonard.

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49

Franke, Thomas. "Leben aus Gottes Fülle : zur trinitarischen Reich-Gottes-Theologie Herman Schells /." Würzburg : Echter, 1990. http://catalogue.bnf.fr/ark:/12148/cb355266651.

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50

Stiller, Indra. "Varats olidliga tomhet : En psykoanalytisk texttolkning av Herman Hesses Siddhartha." Thesis, Stockholm University, Department of Psychology, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-7401.

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Föreliggande studie utgör en psykoanalytisk texttolkning av den tysk-schweiziske författaren Hermann Hesses Siddhartha ur ett objektrelationsteoretiskt perspektiv. De metoder som tillämpas är den traditionella hermeneutiska texttolkningsmetoden och den kliniska psykoanalytiska överförings- och motöverföringsmodellen. Medels dessa tolkningsmodeller och objektrelationsteorier, särskilt Melanie Kleins, Donald W. Winnicotts och James Mastersons, åskådliggörs den svårfångade emotionella problematik som alla individer med preoidipala svårigheter eller brister i självet ger uttryck för.

Utgångspunkten för texttolkningen är teorin om den infantila omnipotenta fantasin, fantasin om att kunna uppnå ett tillstånd av absolut balans, behovs- och begärslöshet, vilken texten är genomsyrad av. Denna fantasi framstår i ljuset av textens primära utvecklingskonflikt kring separation-individuation och dess narcissistiska grundstruktur som ett uttryck för sökandet efter det sanna självets natur och dess förlösande, ett sökande, vilket fram till insiktsögonblicket effektivt omintetgörs av det falska självets verklighetsförvanskande och verklighetsförnekande försvar.

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Dissertations / Theses on the topic 'Herman'

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